The Arts in Schools - Calouste Gulbenkian Foundation

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158 Gifts and talents: existing studies 159 Definitions 160 Isspecial help justified? 161 The moral case 162 The educational case163 The social case 164 For and against special provision 165 Threereasons for concern 166 Helping gifts and talents: the roles of theschool 167 The roles of the local education authority 168 Grantsand awards 169 Other needs 170 The disabled artist 171 The needfor action 172 Less able and disturbed children 173 Raisingconfidence 174 Arts and racial minorities 175 The need forprovision 176 Implications for the curriculum 177 Responding tothe challenge 178 A special problem 179 SummaryChapter 8 Children, teachers and artists180 Reasons for the chapter 181 Direct and indirect contact182 Current schemes 183 Artists in Education 184 Visits185 Residencies 186 Arts education companies 187 Arts/educationliaison: performing companies 188 Arts/education liaison: museumsand galleries 189 Arts centres 190 Other schemes 191 Mutualbenefits 192 Benefits for pupils: skills 193 Attitudes 194 Understanding195 Benefits for teachers: contact 196 Material197 Benefits for artists 198 In practice 199 Choosing an artist200 The attitude of the school 201 Preparation 202 Conduct203 Follow-up 204 Artists and teachers 205 The role of the artist206 A delicate balance 207 The role of the teacher 208 Problemsfaced by arts education companies 209 Courses of action: fourneeds 210 The need for training 211 The need for liaison212 Creating a problem 213 The need for co-operation 214 Theneed for evaluation 215 A general principle 216 SummaryChapter 9 Beyond the school217 Reasons for the chapter 218 Key themes 219 Practical difficulties220 Potential benefits 221 What is continuing education?222 The range of continuing education 223 The problems ofreform 224 A national commitment 225 Initial and post-initialeducation 226 Higher education 227 General and vocationalcourses 228 The arts in vocational courses 229 General courses230 Adult education 231 Training for the arts 232 Getting started233 New opportunities 234 The Weekend Arts College235 Harnessing resources 236 The Youth Service 237 SummaryChapter 10 RecommendationsAppendix 146Bibliography 158Notes 162
The Advisory CommitteeChairmanMembersPeter Brinson, Director, United Kingdom Branch, CalousteGulbenkian FoundationJohn Allen, Visiting Professor of Drama, Westfield College,University of LondonDavid Aspin, Professor of Education (Philosophy), King'sCollege, University of LondonEva Barnes, District Inspector, City of Manchester EducationDepartmentNorman Binch, Staff Inspector for Art and Design, InnerLondon Education AuthorityBob Clement, Adviser for Art, Devon County CouncilDavid Dougan, Director, Northern ArtsAndrew Fairbairn (alternate Maurice Gilmour), Director ofEducation, Leicestershire County CouncilMaurice Gilmour, Adviser for Drama and Movement, LeicestershireCounty CouncilMarjorie Glynne-Jones, Principal Lecturer in Music Education,Middlesex PolytechnicRobert Hedley-Lewis, Principal, London College of PrintingGeoffrey Hodson, Senior Inspector of Drama, Inner LondonEducation AuthorityAlan Hutchinson, Principal, Paddington CollegeTrevor Jagger, Staff Inspector for Secondary Education,Inner London Education AuthorityRalph Jeffery, Staff Inspector: Art and Design, Departmentof Education and ScienceGeoffrey Melling, HMI, Department of Education andScienceJoan McLaren, Staff Inspector for Physical Education, InnerLondon Education AuthorityBetty Osgathorp, County Inspector for Physical Education,Kent County CouncilJoslyn Owen (alternate Bob Clement), Chief EducationOfficer, Devon County CouncilMaurice Plaskow, Curriculum Officer, Schools CouncilKenneth Robinson, Writer and lecturer in arts educationVI
Page 1 and 2: THEARTSSCHOOLSPrinciples, practice
Page 3 and 4: © 1982 Calouste Gulbenkian Foundat
Page 5: Chapter 4 Provision: the arts in pr
Page 9 and 10: Foreword by the Chairman of the Inq
Page 11 and 12: Introduction—1989This is not a re
Page 13 and 14: and many others have done so since.
Page 15 and 16: politicians on all sides were compe
Page 17 and 18: the GCSE examination has addressed
Page 19 and 20: REFERENCESArts in Schools Project (
Page 21 and 22: stances and of the perennial and va
Page 23 and 24: significant than at present.4 The n
Page 25 and 26: likely to be measured publicly by e
Page 27 and 28: seem to improve when taught as part
Page 29 and 30: world around them.e In understandin
Page 31 and 32: ence essential to education? Why th
Page 33 and 34: 10 The artsare notoptions11 Notwith
Page 35 and 36: 1 Education, schooling and the arts
Page 37 and 38: 15 The arts This is the ground on w
Page 39 and 40: for certain forms of artistic activ
Page 41 and 42: arts — is 'merely subjective" and
Page 43 and 44: to and an understanding of certain
Page 45 and 46: school curriculum fall into this se
Page 47 and 48: one who is intelligent but who exhi
Page 49 and 50: 38 Quality Quantity by itself is in
Page 51 and 52: 43 Freedom Two further points must
Page 53 and 54: 3 Arts education and the cultural h
Page 55 and 56: universally valued archive of stabl
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a helps pupils to understand cultur
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Child: "They said it was a march, b
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their cultural identity'. Haley's b
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life and on perceptions and values
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4 Provision: the arts in primary sc
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a What should be aimed at?b What pr
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composition — Western and non-Wes
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learning.' (Schools Council, 1981a,
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performing arts — music, dance an
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techniques and resources for workin
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are thinking particularly of the ar
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they will suffer disproportionately
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Second, integration can mean many t
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arts have a substantial contributio
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distributed equally and equitably a
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art, craft, home economics, music a
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FIGURE 2SHEPSHEDCOMMUNITYCOLLEGEope
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in upper schools. Associated with t
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120 A Implicit in such proposals is
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78literature and put money and reso
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80outlined the sorts of provision t
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used — are appropriate to the wor
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135 Respon- If education involves t
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we look at, or participate in, visu
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MotivationalChildren on examination
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elevant help in compiling the profi
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ible to some form of appropriate as
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94more in-service training provisio
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1%—2% of the school population
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tuition under well qualified teache
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it is likely that more children wil
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102by professional musicians, many
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frequencies and belongs to the Part
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classroom teacher. Nevertheless, th
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'Within individual schools in certa
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implications of different types of
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We will first outline five main are
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186 Arts In the schemes we have jus
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schemes. The Arvon Foundation, for
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is likely to give his teaching rele
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periods of time. There are possibil
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207 The role The rple of the teache
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to be essential to the future devel
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scheme. The Charlotte Mason College
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d education is something that only
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iture. It does require a different
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225 Initial Initial and post-initia
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Germany 18% of the workforce has be
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outes for the visual arts. In parti
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at the centre on a regular basis. T
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potential. The exceptional situatio
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We have developed our arguments in
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wherever possible, co-ordinate the
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AppendixOur arguments in this repor
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Evening classes range from life-dra
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to work with them. CSE groups with
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from other schools to watch two lec
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the cost). Groups of children have
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iii as a special authorised charge
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BibliographyAdvisory Council for Ad
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Kerr, J F 1968 Changing the Curricu
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NotesThe Issues1 For a description
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the philosophy of Ludwig Wittgenste
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for candidates between the 100th an
Page 185 and 186:
their education full-time in school
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